Download Digitization Standards for the Canadian Museum of Civilization

Digitization Standards
for the Canadian Museum
of Civilization Corporation
LIBRARY, ARCHIVES AND DOCUMENTATION SERVICES
Kathleen Brosseau – Mylène Choquette – Louise Renaud
Version 1.1 – March 2006
Library and Archives Canada Cataloguing in Publication
Canadian Museum of Civilization
Digitization standards for the Canadian Museum of Civilization
Corporation / Kathleen Brosseau, Mylène Choquette, Louise Renaud.
Text in English and French on inverted pages.
Title on added t.p.: Normes de numérisation de la
Société du musée canadien des civilisations.
ISBN 0-662-49507-1
Cat. no.: NM24-16/2006
1. Digital preservation — Standards — Canada. 2. Archival materials
— Digitization. 3. Photographs — Digitization. 4. Photography of
antiquities. 5. Museum conservation methods. I. Renaud, Louise,
1954II. Brosseau, Kathleen III. Choquette, Mylène IV. Title.
V. Title: Normes de numérisation de la Société du musée canadien
des civilisations.
Z681.3.D53C36 2006
069’.52
C2006-980226-2E
Table of Contents
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
GENERAL GUIDELINES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
TEXT DOCUMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
1.
2.
3.
4.
5.
Two-Dimensional Manuscripts or Artifacts
Black-and-White Printed Materials
Printed Materials with Photographs and/or Annotations
Onionskin, Rice Paper, Tracing Paper
Newspapers (Ink-Dot Printing)
8
9
10
11
12
PHOTOGRAPHIC DOCUMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.
2.
3.
4.
5.
6.
7.
8.
9.
Photographs
Multiple Photographs
Black-and-White Negatives
Black-and-White Negatives with Multiple Images
Glass Negatives
Colour Negatives
Slides (35mm)
Colour Transparencies
Lantern Slides
14
15
16
17
18
19
20
21
22
ARTIFACT PHOTOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
1.
2.
3.
4.
5.
6.
7.
8.
9.
Normal-Sized Artifacts
Reflective Artifacts
Small Artifacts
Round Artifacts
Artifacts with a Trademark, Seal, Signature or Hallmark
Long Artifacts in Supple Materials
Large Artifacts
Artifacts — Clothing Samples
Artifacts with Multiple Components
24
25
26
27
28
29
30
31
32
GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
1
INTRODUCTION
Introduction
2
This document is intended as a working tool aimed at standardizing
the digitization process at the Canadian Museum of Civilization
Corporation (CMCC).
It was created to address the Corporation’s requirements, within existing
resources, and uses actual examples illustrating the diversity of the
collection. The artifact photographs presented here are used primarily for
documentary purposes, and do not represent the types of photographs
displayed in publications.
The document is neither exhaustive nor final. It is, instead, a collection
of basic guidelines, and will likely evolve as technology and knowledge
develop within this field. The document is also not intended as a course
in digitization. There are specialized tools which can provide much more
comprehensive information than what is offered in these few pages.
When in doubt, always refer to a specialist.
The overall information is based primarily on recommendations found in
the U.S. National Archives and Records Administration (NARA) document,
Technical Guidelines for Digitizing Archival Materials for Electronic Access:
Creation of Production Master Files — Raster Images, and on current
practices at the Gatineau Preservation Centre — Library and Archives
Canada (LAC).
General Guidelines
1.
•
•
TO CALCULATE THE NUMBER OF PIXELS PER INCH (PPI) FOR A
STANDARD 8 X 10 IMAGE AT 300 PPI, USE THE FOLLOWING FORMULA:
3000 ÷ greatest length (in inches) = number of ppi, and digitize at 100%.
Note that it is the original document which measures 8 x 10,
not the final digital file.
Examples:
To digitize a document measuring 7 x 8.5 inches:
3000 ÷ 8.5 = 352 (round off to 360 ppi).
To digitize a 2 x 3 negative: 3000 ÷ 3 = 1000 ppi.
2.
THE MAIN FILE FORMATS USED AT THE CMCC ARE:
a)
b)
TIFF — the master file, and the archived final version of the image.
JPEG — the surrogate file, used for circulation and consultation,
and the current image format attached to the catalogue record.
3.
AT THE CMCC, THE DIMENSIONS OF IMAGE FILES IN JPEG FORMAT
WILL VARY, DEPENDING ON THE NEEDS OF THE ARCHIVES OR
COLLECTION MANAGEMENT SYSTEMS, OR BASED ON WEB
REQUIREMENTS. THE USUAL STANDARDS ARE:
a)
For text and photographic documents, the image is saved
at _____ x 768 pixels
For documents with small characters, the image is saved
at _____ x 1130 pixels.
JPEG files are saved at 72 ppi, with the lower level of
compression (level 12).
b)
Note: The empty space, represented by the underlined blank
(e.g., _____ x 768 pixels) is left open to accommodate variations in
size. The number of pixels — 768 or 1130 — refers to the longest
measurement of the document being digitized.
GENERAL GUIDELINES
3
GENERAL GUIDELINES
4
4.
WHEN BURNING IMAGES ONTO CD FOR DEPOSIT IN THE ARCHIVES:
Use a good quality CD: CD-R, rather than CD-RW, with a reflective
gold coating (e.g., MAM-A CD-R Gold).
b) Burn the CD at a slower speed (4X) to ensure a “deep” impression.
c ) Check that the information burned into the CD has been
effectively transferred.
d ) Use water-based ink markers.
a)
5.
WHEN CALIBRATING THE WHITE, GREY AND BLACK AREAS,
REFER TO THE ADJACENT GRID TO COMPLY WITH THE LEVELS
USED AT THE CMCC.
Furthermore, to secure RGB variance on Kodak Q-14 colour
and grey scales:
a ) The reading of white from the Kodak scales must be made within
a range of 5 pixels.
b) The data for each of the RGB channels must not vary by more than 3%.
KODAK Q-14
Scales are useful for correcting a poor-quality digital image,
or for batch digitization.
Reference Levels
WHITE
NEUTRAL GREY ( M )
BLACK
237-237-237
102-102-102
23-23-23
Recommended Levels
233 to 248
98 to 106
19 to 27
Levels Used for
CMCC Collections
233 to 248
145 to 155
30 to 40
A VARIANCE OF 3%
IS ACCEPTABLE
Note: When correction is necessary, do not save your changes on
the original image. Instead, create a duplicate digital file and work
on that version.
6.
SCALE SAMPLES USED AT THE CMCC ARE:
The Kodak Q-14, mainly used alongside the material being
digitized or photographed.
b) The Kodak Q-60, used primarily for reference purposes.
c ) A homemade scale, based on the squares of the Kodak Q-14 scale, is
also used for smaller objects in the CMCC collection. It is important that
the squares be identical in size to one another (squares of 1 cm 2 are
recommended), and it is useful to include a reference measurement.
d ) A small commercial white-grey-black scale, used for macro
photography of artifacts.
a)
KODAK Q-60
MACBETH SCALE
SAMPLES
Notes:
The use of a detailed colour scale, such as MacBeth digital
colour checkers, may come in handy when working with specific
types of media.
b) For reliability purpose, the scale used must be clean
— without dust or stains.
a)
7.
HISTOGRAM INDICATING A
BALANCED EXPOSURE
HISTOGRAM INDICATING A
POOR EXPOSURE
DURING DIGITIZATION, IT IS IMPORTANT TO CHECK THE
HISTOGRAM TO ENSURE THAT THE IMAGE IS NEITHER
OVEREXPOSED NOR UNDEREXPOSED:
The histogram shows the distribution of colour levels between the two
extremes — pure black (level 0) and pure white (level 255). It is sometimes
necessary, before saving the final digital image, to work with cursors
within Photoshop® to optimize quality at both the black and white levels.
Note: It is best to make any corrections to the image on a
duplicate digital file.
GENERAL GUIDELINES
5
GENERAL GUIDELINES
6
8.
IN SOME INSTANCES, BATCH PROCESSING CAN BE
CARRIED OUT. IT IS USED MAINLY WHEN:
a)
b)
c)
The quality of the original material being digitized is of less importance;
For consultative and visual reference purposes; and
To correct a group of images with similar issues or problems.
Note: Should this method be used, it is important to remember
that this process cannot provide an optimal digital rendering of
each individual image.
•
•
•
9.
If you opt for batch digitization, follow the steps below.
Digitize a colour scale before each digitization session.
Balance the RGB channels on the first image, as indicated in
the general guidelines above.
Save this data and apply the same ALV to all subsequent images.
WHEN SCANNING OR PHOTOGRAPHING ANY MATERIAL,
THE MINIMAL REQUIREMENTS FOR WORKING AREAS ARE:
Hardware (scanner, camera, monitor, etc) must be calibrated on
a regular basis.
b) Room wall colours should be neutral.
c ) Room lighting should be kept at the lowest level.
d ) Monitor should be protected from direct light to avoid reflections.
e ) Working area kept as dust-free as possible.
a)
10. WHEN PHOTOGRAPHING ARTIFACTS, GENERAL
PROCEDURES REQUIRE:
Reference: Technical Guidelines for Digitizing Archival Materials for
Electronic Access: Creation of Production Master Files — Raster Images.
U.S. National Archives and Records Administration (NARA),
by Steven Puglia, Jeffrey Reed, and Erin Rhodes, June 2004.
http://www.archives.gov/ preservation/technical/guidelines.pdf
a)
b)
Using a regular lens (unless otherwise specified).
Using a professional studio flash set-up, not the camera flash.
Text Documents
1.
2.
3.
4.
5.
Two-Dimensional Manuscripts or Artifacts
Black-and-White Printed Materials
Printed Materials with Photographs and/or Annotations
Onionskin, Rice Paper, Tracing Paper
Newspapers (Ink-Dot Printing)
7
TEXT DOCUMENTS
8
1.
TYPE OF DOCUMENT
• This includes all original documents or
artifacts which require faithful reproduction
of the colour and/or texture of the material
and the information it contains.
• Examples: older manuscript on which you
want to show signs of aging and/or
deterioration; annotated document; map;
scale drawing; work on paper; birthday
card/postcard; other.
REMARKS
• Keep a border around the document to
allow reframing as well as later
modifications (e.g., removing the scale
and document number).
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
• For documents larger than the surface of
the digital scanner use the instructions for
normal-sized artifact photography.
• For documents with several pages, consider
producing a PDF document from the
originals, or from black-and-white copies.
Two-Dimensional Manuscripts or Artifacts
RECOMMENDATIONS
EXAMPLES
• 300 ppi, with a minimum of 3000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in reflective mode.
• Select 48-bit mode on the scanner to capture the maximum number of
colours. If this option is not available, 24-bit mode is acceptable.
• For reference purposes, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session.
• Use a grey background.
• Digitize the document with a grey or colour scale and, depending on
available space, always place it in the same position (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white in
the brightest zone (D-Max), then balance the black in the darkest
zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2004-1610-MU-C-5-1-3
2.
TYPE OF DOCUMENT
• Includes relatively recent documents, black
on white, without annotations, without
images, with clear print, with sharp contrast
between the ink and the paper, and on
paper that is neither yellowed nor stained.
• Examples: book; document printed
on a laser or inkjet printer.
REMARKS
• Keep a border around the document to
allow reframing as well as later
modifications (e.g., removing the scale
and document number).
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
• For documents larger than the surface of
the digital scanner, use the instructions for
normal-sized artifact photography.
• For documents with several pages, consider
producing a PDF document from the
originals, or from black-and-white copies.
TEXT DOCUMENTS
Black-and-White Printed Materials
RECOMMENDATIONS
EXAMPLES
• 300 ppi, with a minimum of 3000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in reflective mode.
• For reference purposes, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session.
• Use a grey background.
• Digitize the document with a grey or colour scale and, depending on
available space, always place it in the same location (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white in the
brightest zone (D-Max), then balance the black in the darkest
zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in greyscale profile “Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2005-0935-E2005-01552
9
TEXT DOCUMENTS
3.
TYPE OF DOCUMENT
• These documents are similar to those
described previously, but have distinctive
markings that may be useful to see in colour.
• Examples: book whose aging you want to
show; book with colour or lead
pencil annotations.
REMARKS
• For this type of document, digitization can
be combined by alternating use of the grey
and colour scales. For example, in a book
having text pages with illustrations or
photos, digitize the text pages using the
guidelines for greyscale, and digitize the
pages with illustrations using the
guidelines for RGB.
• Keep a border around the document to
allow reframing as well as later
modifications (e.g., removing the scale
and document number).
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
• For documents larger than the surface of
the digital scanner use the instructions for
normal-sized artifact photography.
• For documents with several pages, consider
producing a PDF document from the
originals, or from black-and-white copies.
10
Printed Material with Photographs and/or Annotations
RECOMMENDATIONS
• 300 ppi, with a minimum of 3000 pixels for the longest dimension
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in reflective mode.
• Select 48-bit mode on the scanner to capture the maximum number of
colours. If this option is not available, 24-bit mode is acceptable.
• For reference purposes, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session.
• Use a grey background.
• Digitize the document with a grey or colour scale and, depending on
available space, always place it in the same location (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white
in the brightest zone (D-Max), then balance the black in the
darkest zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
CD2005-0957-E2005-02445
4.
TYPE OF DOCUMENT
• All documents with notable transparency
and /or a glossy finish.
• Example: duplicate copy of correspondence.
NOTES
• To optimize results, do a test before applying
these recommendations.
REMARKS
• You can choose to digitize in reflective mode
alone by applying the guidelines for
greyscale. Since this mode enables better
reproduction of text, it is recommended for
all documents that are either difficult to
read or have poor contrast.
• Keep a border around the document to
allow reframing as well as later
modifications (e.g., removing the scale
and document number).
• For documents larger than the surface of
the digital scanner, use the instructions for
normal-sized artifact photography.
• For documents with several pages, consider
producing a PDF document from the
originals, or from black-and-white copies.
Onionskin, Rice Paper, Tracing Paper
RECOMMENDATIONS
• Because of the transparency of the document, and because the grey
background will bleed through, digitize the document twice using a
white background: once in reflective mode, then in transparency mode
at 300 ppi, with a minimum of 3000 pixels for the longest dimensions
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Select 48-bit mode on the scanner to capture the maximum number of
colours. If this option is not available, 24-bit mode is acceptable.
• For reference purposes, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session, to calibrate the equipment.
• In reflective mode only, digitize the document with a grey or colour
scale and, depending on available space, always place the scale in the
same location (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white in the
brightest zone (D-Max), then balance the black in the darkest
zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert both files in Adobe RGB 1998 profile, 8 bits per channel
(total 24 bits), or if the document is black-and-white, convert in
“Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
REFLECTIVE MODE CD2004-0008-B322-17-1
TRANSPARENCY MODE D2006-05007
TEXT DOCUMENTS
11
TEXT DOCUMENTS
12
5.
TYPE OF DOCUMENT
• Examples: newspaper;
magazine; stamp.
PROCEDURES
• Digitize in de-screening mode. This will help
minimize the moiré pattern which results
from scans of ink-dot printing.
• When it is necessary to cut out an article
from the rest of the newspaper, create an
outline of the article in question, invert
your selection, then fill the remaining
surface with white or 50% grey.
Newspapers (Ink-Dot Printing)
RECOMMENDATIONS
• 300 ppi, with a minimum of 3000 pixels for the longest dimension
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in reflective mode.
• Select 48-bit mode on the scanner to capture the maximum number of
colours. If this option is not available, 24-bit mode is acceptable.
• For reference purposes, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session.
• Use a grey background.
• Digitize the document with a grey or colour scale and, depending on
available space, always place it in the same location (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white
in the brightest zone (D-Max), then balance the black in the
darkest zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
If the document is black-and-white, save in “Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
CD2005-0855-E2005-00880
CD2005-0957-E2005-02446
Photographic Documents
1.
2.
3.
4.
5.
6.
7.
8.
9.
Photographs
Multiple Photographs
Black-and-White Negatives
Black-and-White Negatives with Multiple Images
Glass Negatives
Colour Negatives
Slides (35mm)
Colour Transparencies
Lantern Slides
13
PHOTOGRAPHIC DOCUMENTS
14
1.
TYPE OF DOCUMENT
• Includes all photographic prints:
black-and-white, monochromatic, or colour.
• Examples: black-and-white print;
colour print; sepia print; ferrotype;
ambrotype; daguerreotype; other.
REMARKS
• Keep a border around the document to
allow reframing as well as later
modifications (e.g., removing the scale
and document number).
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
• For documents larger than the surface of
the digital scanner, use the instructions for
normal-sized artifact photography.
Photographs
RECOMMENDATIONS
• 300 ppi, with a minimum of 3000 pixels for the longest dimension
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in reflective mode.
• Select 48-bit mode on the scanner to capture the maximum number of
colours. If this option is not available, 24-bit mode is acceptable.
• As a point of reference, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session.
• Use a grey background.
• Digitize the document with a grey or colour scale and, depending on
available space, always place it in the same location (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white
in the brightest zone (D-Max), then balance the black in the
darkest zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits),
or if the document is black-and-white, convert in “Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
CD2004-1610-MU-VM-88-863
CD2004-1610-MU-VM-88-859
2.
TYPE OF DOCUMENT
• Prints with more than one image.
• Examples: stereograph; photograph
on cardboard (more than one photo).
NOTES
• Digitize at a higher resolution to ensure a
sufficient number of pixels when viewing
each individual image.
REMARKS
• Keep a border around the document to
allow reframing as well as later
modifications (e.g., removing the scale
and document number).
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
PHOTOGRAPHIC DOCUMENTS
Multiple Photographs
RECOMMENDATIONS
• 600 ppi, with a minimum of 6000 pixels for the longest dimension
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in reflective mode.
• Select 48-bit mode on the scanner to capture the maximum number of
colours. If this option is not available, 24-bit mode is acceptable.
• As a point of reference, digitize a colour scale (Kodak Q-14 or Q-60)
before each digitization session.
• Use a grey background.
• Digitize the document with a grey or colour scale and, depending on
available space, always place it in the same location (ideally lower left).
• Colour-balance each image as indicated in the general guidelines.
If there is no greyscale reference, balance the levels of white
in the brightest zone (D-Max), then balance the black in the
darkest zone (D-Min).
• Enlarge the frame by one inch at the bottom, and type the document
number in black at the lower right (font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
CD2004-1765-B569-5-2
15
PHOTOGRAPHIC DOCUMENTS
16
3.
NOTES
• Placement of a negative’s emulsion side
varies from one scanner to another. To
ensure that the emulsion is against the
proper face of the optical reader, follow
individual scanner guidelines.
• Do test scans whenever possible.
Depending on the quality of the negative,
it is sometimes preferable to digitize
as a positive, and then invert the image
using image-processing software
(e.g., Photoshop® ).
• Concentric ring patterns (dark and bright
bands) may appear while scanning
negatives. These patterns are called
“Newton’s Rings”, and are caused by the
interaction of light waves reflecting on two
glossy surfaces — one convex and one flat
— and the air pockets between them.
• Possible ways to avoid them: a ) use a
mount to raise the negative, thus avoiding
contact with the scanner glass. b ) insert an
anti-Newton’s ring sheet between the
negative and the scanner glass.
Black-and-White Negatives
RECOMMENDATIONS
• 300 ppi, with a minimum of 3000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• As a point of reference, digitize a transparent greyscale (on film) before
each digitization session, to calibrate the equipment.
• Digitize as a positive, and then invert the image with image-processing
software (e.g., Photoshop® ).
• If the negative allows, reframe the image in a way which preserves the
border and any notations found there.
• Balance the levels of white in the brightest zone (D-Max), then balance
the black in the darkest zone (D-Min).
• Convert in greyscale profile “Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
ORIGINAL CD2002-129-031
REMARKS
REVERSED AND REFRAMED CD2002-129-031
• Keep a border around the document to
allow reframing as well as later modifications.
• The technician must verify the final image
by comparing the original negative with the
digitized version.
4.
NOTES
• Placement of a negative’s emulsion side
varies from one scanner to another. To
ensure that the emulsion is against the
proper face of the optical reader, follow
individual scanner guidelines.
• Digitize at a higher resolution to ensure a
sufficient number of pixels when viewing
each individual image.
• Do test scans if possible. Depending on the
quality of the negative, it is sometimes
preferable to digitize as a positive, and then
invert the image with image-processing
software (e.g., Photoshop® ).
• Concentric ring patterns (dark and bright
bands) may appear while scanning
negatives. These patterns are called
“Newton’s Rings”, and are caused by the
interaction of light waves reflecting on two
glossy surfaces — one convex and one flat
— and the air pockets between them.
• Possible ways to avoid them: a ) use a
mount to raise the negative, thus avoiding
contact with the scanner glass. b ) insert an
anti-Newton’s ring sheet between the
negative and the scanner glass.
Black-and-White Negatives with Multiple Images
RECOMMENDATIONS
• 600 ppi, with a minimum of 6000 pixels for the longest measurement
(8 x 10 or 1:1 for formats larger than 8 x 10).
• Refer to general guidelines to calculate the number of ppi necessary for
the dimension of the document being digitized. Note that it is the
original document which measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• As a point of reference, digitize a transparent greyscale (on film) before
each digitization session.
• Digitize as a positive, and then invert the image with image-processing
software (e.g., Photoshop® ).
• If the negative allows, reframe the image in a way which preserves the
border and any notations found there.
• Balance the white levels in the lightest zone (D-Max) and then balance
the black in the darkest zone (D-Min).
• Convert in greyscale profile “Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
ORIGINAL CD2002-1122-62100-5
REMARKS
• Keep a border around the document to
allow reframing as well as later modifications.
• The technician must verify the final image
by comparing the original negative with the
digitized version.
PHOTOGRAPHIC DOCUMENTS
REVERSED AND NOT REFRAMED, TO
PRESERVE INFORMATION IN THE MARGINS
CD2002-1122-62100-5
17
PHOTOGRAPHIC DOCUMENTS
18
5.
NOTES
• Placement of a negative’s emulsion side
varies from one scanner to another. To
ensure that the emulsion is against the
proper face of the optical reader, follow
individual scanner guidelines.
• Digitize at a higher resolution due to
the fragility of the negative and for
preservation purposes.
• Do test scans if possible. Depending on the
quality of the negative, it is sometimes
preferable to digitize as a positive, and then
invert the image with image-processing
software (e.g., Photoshop® ).
• Concentric ring patterns (dark and bright
bands) may appear while scanning
negatives. These patterns are called
“Newton’s Rings”, and are caused by the
interaction of light waves reflecting on two
glossy surfaces — one convex and one flat
— and the air pockets between them.
• Possible ways to avoid them: a ) use a
mount to raise the negative, thus avoiding
contact with the scanner glass. b ) insert
an anti-Newton’s ring sheet between
the negative and the scanner glass.
Glass Negatives
RECOMMENDATIONS
• 600 ppi, with a minimum of 6000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• For reference purposes, digitize a transparent greyscale (on film) before
each digitization session.
• Digitize as a positive, and then invert the image with image-processing
software (e.g., Photoshop® ).
• If the negative allows, reframe the image in a way which preserves the
border and any notations found there.
• Balance the white levels in the lightest zone (D-Max), then balance the
black in the darkest zone (D-Min).
• Convert in greyscale profile “Gray Gamma” 2.2, 8 bits.
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
ORIGINAL CD2002-115-002
REMARKS
• The technician must verify the final image
by comparing the original negative with the
digitized version.
REVERSED CD2002-115-002
6.
NOTES
• Placement of a negative’s emulsion side
varies from one scanner to another. To
ensure that the emulsion is against the
proper face of the optical reader, follow
individual scanner guidelines.
• Do test scans if possible. Depending on the
quality of the negative, it is sometimes
preferable to digitize as a positive, and then
invert the image with image-processing
software (e.g., Photoshop® ).
• Concentric ring patterns (dark and bright
bands) may appear while scanning
negatives. These patterns are called
“Newton’s Rings”, and are caused by the
interaction of light waves reflecting on two
glossy surfaces — one convex and one flat
— and the air pockets between them.
• Possible ways to avoid them: a ) use a
mount to raise the negative, thus avoiding
contact with the scanner glass. b ) insert an
anti-Newton’s ring sheet between the
negative and the scanner glass.
REMARKS
• The technician must verify the final image
by comparing the original negative with the
digitized version.
Colour Negatives
RECOMMENDATIONS
EXAMPLES
• 300 ppi, with a minimum of 3000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• For reference purposes, digitize a transparent colour scale (on film)
before each digitization session.
• Digitize as a positive, and then invert the image with image-processing
software (e.g., Photoshop® ).
• If the negative allows, reframe the image to preserve the border and
any notations found there.
• Balance the white levels in the whitest zone (D-Max), then balance the
black in the blackest zone (D-Min).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
ORIGINAL CD98-11-045
PROCEDURES
• Verify the film type. If the scanner offers this option, select the
appropriate film profile and apply it to the digitization session.
• Ideally, the colour scale used should be identical to the film type
(e.g., Fuji film digitized using a Fuji scale).
• If the type of film is unknown, do test scans to optimize the digital
rendering of the image.
REVERSED CD98-11-045
PHOTOGRAPHIC DOCUMENTS
19
PHOTOGRAPHIC DOCUMENTS
20
7.
NOTES
• Placement of the emulsion side varies from
one scanner to another. To ensure that it is
against the proper face of the optical reader,
follow individual scanner guidelines.
REMARKS
• The technician must verify the final image
by comparing the original slide with the
digitized version.
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
Slides (35mm)
RECOMMENDATIONS
• 300 ppi, with a minimum of 3000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• For reference purposes, digitize a transparent colour scale (on film)
before each digitization session.
• If the slide allows, reframe the image in a way which preserves the
border and any notations found there.
• Balance the white levels in the whitest zone (D-Max), then balance the
black in the blackest zone (D-Min).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
PROCEDURES
• Verify the film type. If the scanner offers this option, select the
appropriate film profile and apply it to the digitization session.
• Ideally, the colour scale used should be identical to the film type
(e.g., Fuji film digitized using a Fuji scale).
• If the type of film is unknown, do test scans to optimize the digital
rendering of the image.
• Do not scan the slide mount. However, if valuable information is
inscribed on it, follow the Lantern Slide procedures and remarks.
EXAMPLES
CD2003-0606-S2001-5973
8.
TYPE OF DOCUMENT
• Slides larger than 35 mm; e.g., 120 mm,
4 x 5, 8 x 10, etc.
NOTES
• Placement of the emulsion side varies from
one scanner to another. To ensure that it is
against the proper face of the optical reader,
follow individual scanner guidelines.
• Concentric ring patterns (dark and bright
bands) may appear while scanning
transparencies. These patterns are called
“Newton’s Rings”, and are caused by the
interaction of light waves reflecting on two
glossy surfaces — one convex and one flat
— and the air pockets between them.
• Possible ways to avoid them: a ) use a
mount to raise the negative, thus avoiding
contact with the scanner glass. b ) insert
an anti-Newton’s ring sheet between
the negative and the scanner glass.
REMARKS
Colour Transparencies
RECOMMENDATIONS
EXAMPLES
• 300 ppi, with a minimum of 3000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• For reference purposes, digitize a transparent colour scale (on film)
before each digitization session.
• If the transparency allows, reframe the image in a way which preserves
the border and any notations found there.
• Balance the white levels in the whitest zone (D-Max), then balance the
black in the blackest zone (D-Min).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
PROCEDURES
• Verify the film type. If the scanner offers this option, select the
appropriate film profile and apply it to the digitization session.
• Ideally, the colour scale used should be identical to the film type
(e.g., Fuji film digitized using a Fuji scale).
• If the type of film is unknown, do test scans to optimize the digital
rendering of the image.
CD94-685-006
• The technician must verify the final image
by comparing the original transparency
with the digitized version.
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
PHOTOGRAPHIC DOCUMENTS
21
PHOTOGRAPHIC DOCUMENTS
22
9.
NOTES
• Digitize at high resolution due to the
fragility of lantern slides, and for
preservation purposes.
• Concentric ring patterns (dark and bright
bands) may appear while scanning
lantern slides. These patterns are called
“Newton’s Rings”, and are caused by the
interaction of light waves reflecting on two
glossy surfaces — one convex and one flat
— and the air pockets between them.
• Possible ways to avoid them: a ) use a
mount to raise the negative, thus avoiding
contact with the scanner glass. b ) insert
an anti-Newton’s ring sheet between
the negative and the scanner glass.
REMARKS
• The technician must verify the final image
by comparing the original lantern slide with
the digitized version.
• Batch digitization enhances productivity,
but does not offer optimal rendering of
individual images.
• If digitization is meant to emphasize the
information on the slide’s frame, it is
recommended that a second digitization of
the slide be done, this time in reflective mode.
The frame is thus considered a document,
with digitization carried out according to
instructions for two-dimensional manuscripts
or artifacts.
Lantern Slides
RECOMMENDATIONS
• 600 ppi, with a minimum of 6000 pixels for the longest measurement
(8 x 10, or 1:1 for formats larger than 8 x 10).
• Refer to the general guidelines to calculate the number of ppi required
for a given dimension. Note that it is the original document which
measures 8 x 10, not the final digital file.
• Digitize in transparency mode.
• For reference purposes, digitize a transparent colour scale (on film)
before each digitization session.
• If the slide allows, reframe the image in a way which preserves the
border and any notations found there.
• If it is a black-and-white lantern slide, apply the same procedures as
for glass negatives.
• Balance the white levels in the whitest zone (D-Max), then balance
the black in the blackest zone (D-Min).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
EXAMPLES
LANTERN SLIDE WITH
EMPHASIS ON THE IMAGE
CD2003-0523-51166 LS
PROCEDURES
• Include the frame of the slide to capture all the information inscribed
on it during digitization.
• By playing with the levels in Photoshop® , it is possible to highlight
either the image or the notations on the frame.
SAME LANTERN SLIDE WITH DIFFERENT
SATURATION LEVELS AND EMPHASIS
ON THE FRAME AND ITS NOTATIONS
CD2003-0523-51166 LS
Artifact Photography
1.
2.
3.
4.
5.
6.
7.
8.
9.
Normal-Sized Artifacts
Reflective Artifacts
Small Artifacts
Round Artifacts
Artifacts with a Trademark, Seal, Signature or Hallmark
Long Artifacts in Supple Materials
Large Artifacts
Artifacts — Clothing Samples
Artifacts with Multiple Components
23
ARTIFACT PHOTOGRAPHY
24
1.
TYPE OF ARTIFACT
• Examples: plate; tool; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• For documentary purposes, the artifact
should be photographed at least twice
at different angles.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
Normal-Sized Artifacts
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
FRONT VIEW CD2005-0056-D2004-24740
Taking the Picture
• Place the colour scale (showing measurement) at the foot of
the artifact. Save space on the lower right to record the object’s
catalogue number.
• Photograph twice with the scale: one front view, and one back view.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does
not offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if the
background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
BACK VIEW CD2005-0056-D2004-24741
BLACK BACKGROUND CD2004-0269-D2004-00381
BLACK BACKGROUND CD2005-0306-D2005-03525
2.
TYPE OF ARTIFACT
• Examples: glass object; mirror;
ceramic; silver; other.
NOTES
• Reduce surface reflections on the
artifact as much as possible.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• The artifact must be photographed under a
white dome which filters the light uniformly.
• Care should be taken to avoid seeing the
photographer’s reflection on the artifact.
• Take a first image with a colour scale and a
second without a scale * so that it doesn’t
reflect on the artifact.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
Reflective Artifacts
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with points of reference as
indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour scale (showing measurement) at the foot of the artifact.
Save space on the lower right to record the object’s catalogue number.
• Photograph the object twice: once with the scale, and once without.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does
not offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2004-00269-D2004-00376
CD2004-00269-D2004-00375
*
To be determined by the photographer.
The best view should be the one without a scale.
ARTIFACT PHOTOGRAPHY
25
ARTIFACT PHOTOGRAPHY
26
3.
TYPE OF ARTIFACT
• Examples: artifact from archaeological digs;
glass bead; coin; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• For tiny objects, a macro lens is required,
in order to enlarge the object as much as
possible and capture details.
• The artifact must fill the frame as much
as possible.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
OPTIONAL
Small Artifacts
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Photograph the artifact with a small white-grey-black scale measuring
1 cm, 2 cm or 3 cm. Save space on the bottom right to record the
object’s catalogue number.
• Photograph the object twice with the scale: one front view and one
back view.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does
not offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2005-0683-D2005-14171
CD2005-0683-D2005-14172
• To eliminate shadows:
Raise the artifact by placing it on a showcase
raised approximately 20 cm above the
grey background. This will eliminate
shadows. Place a lamp/flash on each side
of the showcase, each facing the artifact at
a 45˚ angle to the bottom.
CD2006-0054-D2005-22759
4.
TYPE OF ARTIFACT
• Examples: vase; goblet; marble; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• If there is no variation in pattern, a single
side is photographed with the colour or
white-grey-black scale.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
Round Artifacts
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour or white-grey-black scale (showing measurements) at
the foot of the artifact. Save space on the lower right to record the
object’s catalogue number.
• Photograph the object a single time, with an appropriate scale.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does
not offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2005-0816-D2005-18149
CD2004-0904-D2004-05555
ARTIFACT PHOTOGRAPHY
27
ARTIFACT PHOTOGRAPHY
5.
TYPE OF ARTIFACT
• Examples: bottle; plate; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• Document the artifact as a whole.
• Document the trademark (or signature, seal
or hallmark) on the artifact. For this type of
shot, and exceptionally, the artifact can be
tipped over if necessary.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
28
Artifacts with a Trademark, Seal, Signature or Hallmark
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour scale (showing measurement) at the foot of the artifact.
Save space on the lower right to inscribe the object’s catalogue number.
• Photograph the object two or three times: one or two views
documenting the artifact as a whole, and one view of the seal,
removing the scale if it would encroach on the detail being recorded.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does
not offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2005-0742-D2005-16705
CD2005-0742-D2005-16706
CD2006-0215-D2006-02400
CD2006-0215-D2006-02402
6.
TYPE OF ARTIFACT
• Examples: carpet; cloth; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• Shoot the object from above, stabilizing
the camera on a solid structure, such as
scaffolding.
• To avoid distortion of the object, the back
of the digital camera must be level and
precisely parallel (180˚ angle) to the artifact.
• If the pattern is uniform, it is acceptable to
fold the material in order to show a section.
• A back view is also required, unless the two
sides are identical. In such case, a single
view will suffice.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
Long Artifacts in Supple Materials
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour scale (showing measurements) at the foot of the artifact.
Save space on the lower right to record the object’s catalogue number.
• Photograph the object twice with the scale: one front view and one
back view.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does
not offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2006-0247-D2006-02044
CD2006-0247-D2006-02045
CD2005-0039-D2004-26683
ARTIFACT PHOTOGRAPHY
29
ARTIFACT PHOTOGRAPHY
30
7.
TYPE OF ARTIFACT
• Examples: painting; poster;
furniture; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
• Ensure uniform lighting and background
Large Artifacts
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour scale (showing measurements) at the foot of the artifact.
Save space on the lower right to record the artifact’s catalogue number.
• Photograph twice with the scale: one front view and one back view and,
if necessary, one or two views of details.
INITIAL VIEW
CD2005-0771-D2005-08312
PROCEDURES
• Shoot the object from above, stabilizing
the camera on a solid structure, such as
scaffolding or tripod.
• To avoid distortion of the object, the back
of the digital camera must be level and
precisely parallel (180˚ angle) to the artifact.
• A painting or piece of furniture can also be
placed so that the corners are 90˚ to the
camera’s viewfinder.
• Additional views are acceptable. For views
of details, since framing of the image is
restricted, inclusion of a colour scale is
not required.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does not
offer optimal rendering of individual images.
• With the help of the image-processing software, rework the photo by
copying and expanding the black or neutral grey background to fill
the canvas evenly.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
REWORKED VIEW
CD2005-0771-D2005-08312
FRONT VIEW
CD2005-0767-D200510447
BACK VIEW
CD2005-0767-D200510448
8.
TYPE OF ARTIFACT
• Examples: costume; clothing; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
Item Laid Flat
• Shoot the object from above, stabilizing
the camera on a solid structure, such as
scaffolding or tripod.
• To avoid distortion of the object, the back
of the digital camera must be level and
precisely parallel (180˚ angle) to the artifact.
• A back view is required.
Item on Mannequin
• Place the artifact on a mannequin. To avoid
distortion of the object, the back of the
camera must be level and precisely parallel
(180˚ angle) to the artifact.
• For views of clothing details, since framing
of the image is restricted, inclusion of a
colour scale is not required.
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
ARTIFACT PHOTOGRAPHY
Artifacts — Clothing Samples
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes, photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour scale (showing measurements) at the foot of the artifact.
Save space on the lower right to record the artifact’s catalogue number.
• Photograph twice with the scale: one front view and one back view and,
if necessary, once or twice for details.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does not
offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
ITEM LAID FLAT
CD2005-0900-D2005-10877
ITEM ON HEAD
CD2004-1828-D2004-23812
ITEM ON MANNEQUIN
CD2005-0434-D2005-08399
31
ARTIFACT PHOTOGRAPHY
32
9.
TYPE OF ARTIFACT
• Examples: toy; board game; other.
MANDATORY
•
•
•
•
•
Black or neutral grey background
Artifact catalogue number
Colour or white-grey-black scale
Artifact placed straight
Ensure that the catalogue number and scale
can be excluded if necessary
PROCEDURES
• For documentary purposes, the artifact
should be photographed multiple times
(especially if the artifact has several
components or moving parts).
• Use a digital camera capable of capturing a
minimum of 3000 pixels for the longest
measurement (8 x 10, 300 ppi), in either
RAW or TIFF.
• Use a regular lens.
Artifacts with Multiple Components
RECOMMENDATIONS
EXAMPLES
In the Studio
• At the beginning of each session with new lighting, adjust the camera’s
white balance and for reference purposes photograph a Kodak Q-14
colour scale.
• Import the image into image-processing software (e.g., Photoshop® )
and adjust the “levels” on the colour scale with the points of reference
as indicated in the general guidelines.
• Save the data in ALV format, since this information will apply to all
photos taken during the same photography session.
Taking the Picture
• Place the colour scale (showing measurements) at the foot of the artifact.
Save space on the lower right to record the artifact’s catalogue number.
• Photograph twice with the scale: one front view and one back view, as
well as multiple views of components and/or moving parts.
At the Computer — Image-Processing Software
• Apply the ALV information to all images within the same studio session.
• Works well for batch digitization and improves productivity, but does not
offer optimal rendering of individual images.
• Type the artifact’s catalogue number in the lower right — in white if
the background is black, and in black if the background is neutral grey
(font: Arial, 40 pts.).
• Flatten the image (i.e., flatten layers).
• Convert in Adobe RGB 1998 profile, 8 bits per channel (total 24 bits).
• Save the image as an uncompressed TIFF, named to standards
established by the Corporation’s Photo Archives.
• Produce a JPEG version as described in the general guidelines.
CD2005-0266-D2005-02677
CD2005-0266-D2005-02678
CD2005-0266-D2005-02679
CD2005-0266-D2005-02680
Glossary
33
GLOSSARY
34
ALV File format used for saving levels and curves in histograms in
Adobe Photoshop®.
JPEG: JOINT PHOTOGRAPHIC EXPERTS GROUP A lossy compression
technique used for saving images and photographs. This compression
method reduces the file size of an image but reduces also its quality.
NEWTON’S RINGS Concentric ring patterns (dark and bright bands) may
appear while scanning negatives, glass negatives, transparencies and
lantern slides. These rings are caused by the interaction of light waves
reflecting on two glossy surfaces — one convex and one flat — and the
air pockets between them.
PPI: PIXELS PER INCH A unit of measurement used for spatial resolution
of a digital image. Resolution is often referred to as dots per inch or DPI.
This term is appropriate when describing printer resolution. In common
usage, the terms PPI and DPI are used interchangeably; however, since
image files are composed of pixels, PPI is a more accurate term for digital
images and has been used in this document.
RAW: INITIAL IMAGE FILE Contains minimal processed data from a
digital camera or a scanner. Before any manipulation can be done, the
RAW file must be converted into another format.
RGB: RED, GREEN, BLUE The main colours in photography.
TIFF: TAGGED INFORMATION FILE FORMAT A lossless image format
developed for the purpose of storing high-resolution bit-mapped,
greyscale, and colour images.
For additional definitions, such as reflective mode, transparency mode,
de-screening mode, etc., refer to the Photoshop® user’s manual.
Notes
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Canadian Museum of Civilization
100 Laurier Street
Gatineau, Quebec K1A 0M8
E-mail: [email protected]
Internet: www.civilization.ca
Canadian War Museum
1 Vimy Place
Ottawa, Ontario K1A 0M8
E-mail: [email protected]
Internet: www.warmuseum.ca
© 2006. All rights reserved. No part of this book may be reproduced
or transmitted in any form or by any means electronic or mechanical,
including photocopying, recording, or any retrieval system, without
the prior written permission of the publisher.